We last featured Dima over a year ago, where his work was a lot more digitally focused and varied in style. Now the designer has found his stride and the DIY components of his posters, with skewed handwritten type, cut-out graphics and colourful scribbles, are bursting with personality.

Dima uses unexpected colours, like earthy tones and pastel hues and combines them with different textures to refresh our perception of the classic gig and club night poster. Compositionally, Dima steers clear of becoming formulaic by adopting a liberal approach to placement and layout while still making sure the important information is still communicated clearly. This flexible approach to poster design not only demonstrates Dima’s development but also the way in which a low-key, DIY aesthetic can still have just as much impact as brash, bold, typographically-led designs.

Every month, ten people descend upon a basement studio in Dublin’s historic Merrion Square. The streets are lined with grand Georgian houses and pristine iron gates protect a well-kept public park. Each person is there to attend a two-day workshop organised by a tenaciously talented Welsh woman in order to learn how to make film props.

Earlier this year fashion icon Alexa Chung had her many fans reeling with the news of her own label. The campaign saw the model, muse, presenter and writer put her trend-spotting taste to use in creating her own collection. Such an exciting move from Alexa had to look slick and playful in every aspect, from the clothes to the branding, which was created by Studio Frith.

“‘Does it have to be readable?’ is a main theme in a lot of my work,” says Icelandic-born and Berlin-based graphic designer Greta Thorkels. This approach to design isn’t a usual one, but by turning design on its head Greta is carving her own eclectic graphic path.

Afrika is a design studio based in Switzerland, founded by Florian Jakober and Michael Zehnder. The studio works on a variety of projects, most recently finding itself designing custom typefaces for other studios and agencies. “It’s nice to have clients that understand as much about typography as we do. This way of working also allows us to work in bigger teams and learn a lot from everybody,” says Afrika.

If you go down to Highgate Woods in London today, you might be in for a bit of a surprise. Among the dog walkers, the frazzled parents searching for their kids and the forestry workers making sure that the ancient woodland is being preserved, you might, if you look carefully, find one of the most prolific artists and illustrators working in the UK. Highgate Woods, all 28 hectares of it, is Noma Bar’s ‘office’. Everyday, come rain or shine, the graphic artist is there, somewhere, armed with his notebooks and pens, working through ideas that will appear in their final forms in newspapers, magazines, as part of a campaign or a gallery.

Inspired by “wrong” design and a fondness for “flaws and errors”, aptly named Wrong Studio has been championing well-executed typography and graphic expertise by adding a twist of their own signature style. The studio was founded in 2013 by two colleagues, Andreas Peitersen and Jess Andersen, who decided it was time to steer things in a more personal direction. Since its launch, the duo have dabbled in various projects with a close-knit and collaborative ethos. We spoke to Andreas to find out more about some of its most studio-defining projects.